Fire Inside
by FotoBridgeT2
Summary: (Spec Script I wrote years ago) A serial arsonist is targeting DC apartment buildings-what happens when Emily's building is the next target? Will she make it out alive?


CRIMINAL MINDS

"Fire Inside"

Season Four Episode ?

CRIMINAL MINDS

Episode Number-"Fire Inside"

Cast List

AARON HOTCHNER

DAVID ROSSI

EMILY PRENTISS

DEREK MORGAN

SPENCER REID

JJ JAREAU

PENELOPE GARCIA

Jamie Smith

Mrs. Gertrude Thompson

Mr. Charles Thompson

Sara Keller

Ian Corbin

Police Woman

Jonah Colby

First Responder #1

Detective Ryan Alvin

Tamara Waters

Michael Holt

Police officer #1

CRIMINAL MINDS

Fire Inside

TEASER

EXT. WIDE ANGLE SHOT - NEAR CAPITOL - NIGHT

INT. APARTMENT HALLWAY - 2:00 AM - LOW LIGHT

Long hallway-upscale apartment complex. Camera rounds corner, revealing EMILY PRENTISS, 30s, attractive brunette dressed in comfortable 'at home' clothes. Runs to the final apartment in that corridor, 303. Starts knocking frantically on the door.

PRENTISS

Jamie, open up! It's Emily from next door!

Door to 303 swings open, revealing a young blond wearing pajamas. We assume this is JAMIE.

JAMIE

What's going on? Dammit, Emily, it's almost two in the morning! What's wrong? God, is that smoke? Why didn't the alarms go off, the sprinklers?

PRENTISS

I don't know, but we need to get out! (Beat) I've already called the fire department.

JAMIE

Oh my God! (Beat) I'll start this side of the hall!

PRENTISS

I've gotten to most of them. Check 309, then get out. Try the manual alarm next to the stairs on your way! The one by my door isn't working! I'll get the Thompsons from 312. They're the last ones on this floor, I think!

We get the sense that people are just now becoming aware of the situation. People rush by, in various states of undress. Small exploding sounds-like firecrackers-are going off in quick succession. A total of six in all. PRENTISS moves to 312 and begins knocking.

PRENTISS

Mrs. Thompson! Gerty! (Beat) Mrs. Thompson, it's Emily Prentiss from 305! The building's on fire and you need to open the door! Mrs. Thompson! Mrs. Thompson!

Prentiss pauses. Wriggles door knob, and then KICKS open the door.

INT. - THOMPSON APARTMENT - NIGHT

Mrs. Thompson, 70s, slight, grandmotherly, dressed in a faded nightgown, is partially to the door and she screams. Loud alarms begin filling the air.

PRENTISS

Mrs. Thompson, the building is on fire! We need to get out, now!

MRS THOMPSON

Charlie! Charlie!

Both women run into the downstairs bedroom.

INT. THOMPSON BEDROOM - NIGHT

MR CHARLES THOMPSON, a small, elderly man, dressed in boxer shorts and a white undershirt, is struggling to grab his wheelchair. PRENTISS and MRS THOMPSON quickly move him into the chair and into the hallway as the sound of sirens fills the background, mingling with the panic.

PRENTISS looks significantly between the old man and the three flights of stairs they'd need to get him down. A tall, handsome neighbor-COLBY-notices her apprehension and jerks toward her, quickly sizing up the situation.

NEIGHBOR

Emily! I've got him! Go! Get out!

Neighbor picks up MR THOMPSON from the wheelchair and begins carrying him down the stairs. The chair is abandoned at the top of the stairs.

MRS THOMPSON

Emily! Emily! What about that new girl in 311? Poor thing's completely deaf! Won't hear the alarms!

PRENTISS

Go! I'll get her! Just get you and Charlie out!

Moves back into the now smoke-filled corridor. Outside 311, doesn't waste time knocking. Kicks in door, moves hurriedly inside.

INT - APARTMENT ENTRYWAY - NIGHT

Room is filling with smoke, she finds a young woman, whom we later learn is SARA KELLER, 30s, unconscious on the floor. PRENTISS begins dragging her to the door. KELLER wakes, and begins coughing. They help each other out into the hall, but KELLER falters again, and goes down to the carpeted floor. PRENTISS half collapses with her. We hear more of the strange popping noises. PRENTISS turns to look over her shoulder as flames are visible at the opposite end of the hall. She turns back. UNSUB cold cocks her with a fist to the chin. PRENTISS goes down.

END TEASER

ACT ONE

VO: PRENTISS

There may be a great fire in our soul, yet no one ever comes to warm himself at it, and the passers-by see only a wisp of smoke. Vincent Van Gogh

INT. BAU BULLPEN – EARLY MORNING (3-4 AM)

MORGAN sits in his chair, legs out in front of him. He straightens when REID enters. REID places his bag on his desk, looking around the slightly darkened bullpen.

REID

Hey, Morgan. We actually the first here? We beat Emily?

MORGAN

First for everything. Damn, kid-do you even sleep in those vests?

REID

There's nothing wrong with my clothes. I wasn't exactly asleep when I got the call. I was reading. Where are Hotch and the rest?

MORGAN

Up there.

MORGAN nods toward Hotch's office where ROSSI, JAREAU, and HOTCHNER are visible. HOTCH, ROSSI, JAREAU approach, moving down the steps into the bullpen at a brisk pace. Their manner indicates that something is wrong. MORGAN stands, moving slightly closer. REID stays in his chair but body goes on alert.

MORGAN

Hotch, man, what is it?

HOTCH

The serial arsonist that's been on the news-he's escalated to murder; we've been asked to take the case, immediately.

MORGAN

Where?

HOTCHNER hands MORGAN a file, then another to REID, while JAREAU begins operating the flat-screen television in the bullpen. MORGAN straightens.

MORGAN

Dammit, Hotch—that's Prentiss's complex!

HOTCH

I know. And they're expecting multiple fatalities. Built-in alarm systems failed to activate.

REID

And Emily? Any word?

HOTCH

As of yet, nothing. JJ, stay here and try to gather as much from the three previous fires, and keep trying Prentiss's cell. Maybe she has it with her. Fill Garcia in, and have her get a list of all tenants for all four apartment complexes that have been hit. Somebody has to have seen something.

JAREAU

Yes, sir.

HOTCH

Everyone else, let's move. Detective Alvin's expecting us at the scene. Responders have been at the scene for little more than an hour. Which means our UNSUB could still be lurking around, too.

EXT. FRONT OF COMPLEX - EARLY MORNING

We see scores of people huddled together under blankets to fight the chill of February winds. Most of the ambulances are gone. Flashing lights casting colored glows on every reflective surface. HOTCHNER, MORGAN, REID, ROSSI approach Detective Alvin (30ish), speak briefly, then approach chief fire inspector IAN CORBIN, 40ish. CORBIN appears harried, but in control.

HOTCHNER

I'm SSA Aaron Hotchner, these are SSA Morgan and SSA Rossi, and Dr. Reid; we're from the BAU. We've been asked by the DC police, and Detective Alvin here, to consult on the case.

CORBIN

Ian Corbin, Chief Fire Inspector. Can't say I'm glad you're needed here, but I appreciate the help on this one.

ALVIN

How many fatalities?

CORBIN

At last count, eight. Twenty-four more residents transported to the hospital, fourteen treated with oxygen on scene, two missing.

MORGAN

Eight? Damn. Hotch? You think one of us should go look for her?

CORBIN

Excuse me? Her?

ROSSI

One of our agents is a resident. We've had no word from her yet. We're concerned.

CORBIN

Check with DC Police, victims' services, they're just getting set up. They'll know more. Have a list. Three hundred plus people live in this building-and none will be goin' back in for a few days, week at the least. Extensive smoke damage on all five floors.

HOTCHNER

Morgan, check the tents. Report back as soon as you know anything. Detective, can you have someone gather all the evidence from the previous fires and have them forwarded to our liaison at the Bureau? She'll coordinate from there.

ALVIN

Of course, Agent Hotchner.

MORGAN jogs away, anxiety evident in his actions.

HOTCHNER

Reid, what can you recall about the previous fires?

REID

Three apartment buildings, in and around the DC area. All three had building-monitored fire prevention systems. All three malfunctioned. Sprinkler systems in two of the three complexes hallways showed evidence of tampering, but were still operational. Small incendiary devices on more than half the floors. No fatalities. Two treated for smoke inhalation at each of the first scenes. Four at the third. State police had a few leads, but damage was minimal and there was no loss of life.

HOTCHNER

Until now. Rossi, you and Reid go to the first two scenes. See if anything stands out. Morgan and I will stay on this one.

ROSSI

Call as soon as you know anything about Emily. The minute you hear.

HOTCHNER

I will. We need to stop this guy; this rate of escalation could be an indicator of devolution as well. Reid, how much of a cooling off period between the three previous fires?

REID

Two weeks between the first and second. Eight days between the second and third, and assuming this is the same UNSUB, only four days between that fire and this one.

ROSSI

So first, we need to determine if this fire is even a part of the case. Or if it's just coincidence.

EXT. FRONT OF APARTMENT COMPLEX - MORNING

MORGAN walks quickly through the crowds, purposeful and authoritative. He pauses, looks closely at a dark-haired woman several yards in front of him. He walks away, repeating the action a few seconds later. Then he turns sharply as FIRST RESPONDER #1 escorts a woman toward an open ambulance.

MORGAN

Prentiss!

Turns and jogs toward the woman. PRENTISS looks up sharply. Her hair is limp around her face, her clothes bedraggled.

MORGAN

Girl, you don't look so good, but I sure am glad to see you.

PRENTISS

Thanks, I think. What are you doing here?

MORGAN

We've got the case. You ok?

PRENTISS

Soar throat, bit of a headache, that's all. You know anything about fatalities? My

neighbors?

MORGAN is clearly hesitant to answer as FIRST RESPONDER #1 tries to get PRENTISS to use an oxygen mask. PRENTISS waves him away, impatient.

PRENTISS

How many, Morgan?

MORGAN

Last I heard, eight. At the minimum. Several more are on the way to the hospital. You do what you're told for a minute, while I call Hotch and let him know I found you. Understand?

MORGAN moves back slightly, and opens his phone. PRENTISS relents, taking the oxygen mask for a moment.

EXT. IN FRONT OF BUILDING- MORNING

HOTCHNER and CORBIN, stand around a schematic of the apartment complex, with a POLICE WOMAN. CORBIN points to an area on the blueprint, a section clearly marked as the THIRD FLOOR hallway.

CORBIN

Last two survivors were found right here. Outside 311. I'm not sure of their identities or their conditions. Just know it was two females, thirties.

POLICE WOMAN

Third floor has two women unaccounted for, but all others have been identified; third floor, as of yet, mind you, has no fatalities. Unlike any other floor.

HOTCH

How many fatalities for each floor? Initial impressions-where did the fire originate?

Pauses, looks down at cell phone…

HOTCH

Excuse me, a moment.

Answers cell phone.

HOTCH

Hotchner. You found her? She's ok? Good. Meet me back here as soon as you can.

Disconnects call. Appears suddenly more relaxed.

HOTCH

Where were we?

CORBIN

Found your agent, then?

HOTCHNER

Yes. They'll be over here shortly. The two unaccounted for? What apartments and names?

POLICE WOMAN

305 and 311. Prentiss and Keller.

HOTCHNER

Prentiss, from 305,she's been found. With SSA Morgan right now.

CORBIN

So that leaves Keller as the second woman. At least there's that; all residents have been identified or contacted or accounted for. That's not often an occurrence in this type of fire. We usually only find the bodies of the unaccounted for after the flames go down.

HOTCHNER

And primary place of ignition?

CORBIN

Here, second story. Empty apartment. 205. From what we can tell, it was a simple accelerant-probably lighter fluid. The secondary devices were used mainly as-excuse the expression-a smoke screen. And a distraction. But the fourth floor-the device apparently malfunctioned, igniting drapes. Same happened on the third, as far as we can tell.

HOTCHNER

Can you tell how much damage was done to the apartment on the second floor?

CORBIN

There's practically nothing left, Agent Hotchner. Whoever started this one knew what they were doing. Damage was extensive to 204 through 210. Structural damage most likely to those apartments directly above and below those, as well.

HOTCHNER

I'll need all of your findings as quickly as you can get them to me. This guy's done this before.

CORBIN

And his fires are getting better.

HOTCHNER sends a significant look at the man. MORGAN walks up, almost leading a bedraggled PRENTISS. She nods at HOTCHNER.

HOTCHNER

Prentiss, how are you? We were worried.

PRENTISS

I'll recover. Can't say the same for my apartment. Have they said whether it's contained? Morgan said we've pulled the case? What have we got so far?

HOTCHNER

If you need to sit this one out, deal with getting things in order, you know it won't be a problem.

PRENTISS

It's not like I'll be heading back to my apartment anytime soon. I have copies of all important documents in a safe-deposit box. And I can certainly purchase more clothing. But my badge and weapon are still in my apartment. And I want in on this one, sir.

HOTCHNER

I'll make a call, have new ones issued. Until then, I want to start interviewing residents, especially second, third, and fourth floors. Someone saw something. Prentiss…you first.

PRENTISS

I don't think I'll be much help. Should I start at the beginning or with the guy who hit me?

We see MORGAN'S surprised face before the camera cuts to HOTCHNER'S.

ACT TWO

INT. CONFERENCE ROOM - BAU - MIDDAY

MORGAN and PRENTISS, are gathered around a large table. HOTCHNER is standing, near a large whiteboard with pertinent information tacked/written on it. ROSSI, REID, JAREAU walk in. JAREAU looks at PRENTISS, concern evident in her expression. PRENTISS nods…that is all the communication they need before getting down to business. Everyone sits, as HOTCHNER moves closer to the white board.

HOTCHNER

Prentiss, I want you to go over exactly what you did, one more time.

PRENTISS

I couldn't sleep…

INT. - PRENTISS'S APARTMENT - NIGHT

We see PRENTISS as she cleans her apartment; she pulls the garbage bag from beneath the sink and ties it off. She grabs her keys from the counter, slips her feet into tennis shoes, and exits the apartment.

INT. - COMPLEX HALLWAY - NIGHT

We see a tall man, recognizable as the neighbor who carried Mr. Thompson down the stairs. He nods at PRENTISS, looks as if he wants to say something to her.

PRENTISS

Hi, Jonah. Book going well?

COLBY

Hi, Emily. Not really. Just getting home?

PRENTISS

No, just restless. You?

COLBY

Same. Figured I'd go for a walk to clear my head. Work out a few kinks in the story.

PRENTISS

At two in the morning? In February?

COLBY

Hey, you're awake, and out of the apartment. Want to go for coffee, or something? My treat?

PRENTISS

I can't. I shouldn't even be awake now. Maybe some other time?

COLBY

Maybe. You're probably right, I should be goin', too.

PRENTISS (V.0.)

I had passed him in the hallway, on the way to the garbage shoot. We stopped, talked for a moment.

INT. BAU CONFERENCE ROOM - DAY

Camera focuses on PRENTISS' face as she talks.

PRENTISS

Went our separate ways. Saw him again with the Thompsons from 312. Charlie's in a wheelchair, Jonah carried him out.

MORGAN

Why was he in the hallway? At…what…two a.m.?

PRENTISS

He's with the CIA—and is a crime novelist. We often pass each other when returning from cases. It's not the first time I've seen him in the halls that late.

ROSSI

That the first time he's asked you out for coffee at two a.m.?

PRENTISS

Well, no. At least once a month he'll be in the hall when I'm out there. Always asks if I want to go for coffee.

MORGAN

And girl, have you gone?

PRENTISS

That's relevant because?

MORGAN

You have.

HOTCHNER

Can we get back on track here?

PRENTISS

Ok, let's just say that it was normal for Jonah to be in the hall that late. I threw the garbage away, turned around. I was alone at the end of the hall, back corner.

INT. – APARTMENT HALLWAY - NIGHT

The corridor forms an L, garbage shoot is by stairs.

PRENTISS (V.O.)

I noticed it had been propped open. That's when I realized smoke was coming up the stairs. I hit the alarm system. I hit the manual release by the trash shoot. It didn't work. That's when I realized it had jammed.

PRENTISS is in the hallway; she notices the smoke, hits the alarm, and then the popping noises sound, drawing her attention.

INT.- CONFERENCE ROOM – DAY

ROSSI

And the guy who hit you? Where does he fit in? I assume you got out of the building after knocking on doors?

PRENTISS

Well, no. The last of my neighbors were the Thompsons. Gerty and I got Charlie into his wheelchair and out into the hallway. Then Jonah carried Charlie down the stairs.

MORGAN

And then you got out? When did you get hit?

PRENTISS

No, I didn't get out then. I broke the door to Sara Keller's place, 311. Found her, we went into the hall. She tripped. I tried to pick her back up; I heard something, turned to look. Then somebody hit me, square on the jaw. Next I knew I was outside, with Jonah and another neighbor—Michael Holt from 409—leaning over me. Jonah came back in looking for me. He and Michael must have helped me and Sara out.

HOTCHNER

Did you get a good look at whoever it was?

PRENTISS

No. I'm afraid not. The smoke was pretty thick by then, and my eyes were burning. About the only thing I know for sure is that whoever it was, was taller than me. Bigger. Fist came at a slightly downward angle.

HOTCHNER

Morgan, you, Alvin, and I will talk to Colby and Holt, see if they saw anything. The rest of you, question the neighbors, somebody knows something.

INT. INTERVIEW ROOM – DAY

HOTCHNER, ALVIN, and MORGAN sit at a table across from COLBY.

MORGAN

If you could, walk us through exactly what happened. As best you can recall, Agent Colby.

COLBY

From about when? The entire night?

HOTCHNER

Start with why you were in the hall.

COLBY

I got home around midnight, bad case. You ever have one of those?

MORGAN and HOTCHNER nod. ALVIN is still. COLBY shifts, leaning forward. It's a posturing gesture. This man is slightly arrogant.

ALVIN

Go on.

COLBY

I wrote for two hours or so. Was stuck on a few places. Then I heard the door across the hall open. 305. It has a distinctive squeak when it opens, so I knew who it was.

MORGAN

Agent Prentiss' door? So you knew she was out there?

COLBY

Yes. I figured she couldn't sleep, again. She's a bit of an insomniac. I decided to see if she wanted to go for coffee again. We spoke for a moment, she declined—this time—and I went back into my apartment, while she went to the garbage shoot.

COLBY shifts in his chair, relaxes a bit. He is now over any male posturing.

INT. - COMPLEX HALLWAY – NIGHT

COLBY (VO)

I waited, listened for her door to open again. Make sure she was back where she belonged before too long. It didn't. Then I heard knocking, shouting. I went into the hall. Emily—Agent Prentiss—was alerting one side of the hall, I took the other. I helped a pregnant neighbor and her two kids down to the first floor.

COLBY climbs the stairs, meets PRENTISS and the THOMPSONS at the top.

INT. STAIRWELL – NIGHT

We see COLBY carry the man out of the building.

EXT. PARKING LOT – NIGHT

Residents are huddled together. COLBY deposits MR. THOMPSON on the curb. He starts looking behind him. It is obvious he's looking for someone. Then he looks at MRS. THOMPSON as she speaks.

MRS. THOMPSON

Emily? Oh, my dear Lord. I think she went back for that girl in 311. She's still in there!

COLBY

Stay right here, I'll get her!

COLBY jogs back into the building.

INT. STAIRWELL – NIGHT

COLBY runs up the steps. He doesn't see the man coming down until they collide. MIKE HOLT, 40ish, strong, outdoorsy type.

HOLT

Colby, you're supposed to be going out, man! Not coming in!

COLBY

A friend of mine's still in here! Her and another woman!

COLBY continues up the steps to the next floor. We see MR. THOMPSON'S wheelchair, which hints that this is the third floor, PRENTISS'S floor. HOLT turns and follows.

HOLT

What apartments? Who?

COLBY

305 and 311.

COLBY pulls the now-closed door to the third floor open with his shirt-sleeve over his hand, giving the impression he can feel the heat on the other side, and more smoke roils out. Both men cover their faces and plunge in.

INT. COMPLEX HALLWAY – NIGHT

Smoke is now everywhere. Visibility is almost non-existent. COLBY and HOLT stumble over the bodies of the women. Each man grabs a woman and carries them out.

INT. INTERVIEW ROOM – DAY

COLBY

I wasn't even certain which woman I'd grabbed. We got them out. Passed a fireman on the way in. He was already on the second floor. Then the first responders were taking over. Emily awoke. The other woman didn't. They loaded her into the ambulance and took off. Emily refused transport. Then Holt and I went to help the rest of the residents however we could. Left Emily with the Thompsons. Didn't see her again after that. That's all. Hope that helps. What have you got on this guy?

ALVIN

We have a few leads. Thank you for your time, Agent Colby.

All three men stand. MORGAN shakes COLBY'S hand. HOTCHNER repeats the action with the CIA operative.

COLBY

I hope you have more than that. Because, honestly? If Holt and I hadn't went back in when we did—I doubt the responders would have gotten to Emily and that other woman in time. You get my drift? Find this guy, and soon. And when you do—I want to know about it.

HOTCHNER

Thank you for your cooperation. If we have any more questions we'll be in touch.

COLBY

Do that.

INT. BAU BULLPEN – DAY

REID, JAREAU, and PRENTISS are gathered around REID'S desk. PRENTISS is standing. COLBY looks at her, and then diverts to go down the stairs. MORGAN and HOTCHNER stand at the rail and watch their exchange.

COLBY

Emily, I didn't know you worked in this department. You're working the fire?

PRENTISS

Ironically, yes.

COLBY wraps a hand around her upper arm, leads her a bit away from the other agents for some privacy.

COLBY

How are you? You ok?

PRENTISS

Of course. Have you talked to Gerty and Charlie? I've not had a chance to see how they're doing.

COLBY

Last I saw them—this morning, Jamie from 307 was helping them find a decent hotel room in the capitol. Finding a replacement wheelchair for Charlie. Renewing all their prescriptions and things.

PRENTISS

Good. I was worried about them.

COLBY

And we were all worried about you. You just sort of disappeared.

PRENTISS

I appreciate it, but I'm fine. Make sure they know they can get a hold of me at this number if they need me. I've been issued a new cell phone.

PRENTISS pulls away, turns to her desk and pulls a business card from the pile, on which she writes a number.

COLBY

I'll do that. Let me know if you need anything. I swung some leave time to deal with the damage to my apartment, so I should be around. I'll be staying with my brother until I get things taken care of—and they let us back in the building. I'll email you the numbers as soon as I can. In the meantime, you be careful, ok? It was a little too close.

COLBY nods at the rest of the team, then turns to PRENTISS again. He smiles, rubs her shoulder. He turns and walks away. PRENTISS and the others watch as he walks past HOTCHNER and MORGAN, nodding politely at both men as he does so.

INT. - OUTSIDE PRENTISS'S APARTMENT COMPLEX - DAY

CORBIN

These were found at the ends of the halls on the second, third, and fourth floors of the last two buildings.

MORGAN

Anything special about the construction? They look like ordinary pipe bombs.

CORBIN

Crude, probably deliberately so, and more of a smoke bomb. Smaller than I've ever seen. Designed to smoke longer than they were designed to burn.

MORGAN

So a distraction rather than an incendiary.

CORBIN

If so, the arsonist seriously misjudged this latest fire. On both the third and fourth floors. Devices fired, hit draperies. Would have ignited the drapes within seconds. Carpet and wallpaper-high-end crap-would have went shortly after.

MORGAN

In your opinion-deliberate or accident?

CORBIN

Extremely coincidental that the same accident happened on two floors. That tell you anything?

MORGAN

Yeah. That this guy has put a lot of thought into his craft. And that he doesn't care who he hurts.

End of Act Two

ACT THREE

INT. BAU CONFERENCE ROOM – NEXT DAY – MID MORNING

We see, gathered around the conference table, the BAU team—minus Garcia. HOTCHNER stands in his customary spot by the white board. Littering the table are photographs of all four fire locations

HOTCHNER

Reid, what do we know about serial arsonists?

REID

Around 80% are Caucasian, 94% are male. 50% are under the age of thirty. Most have histories of prior crimes, most of which were felony arrests. Nearly 67% have average or even above average intelligence, though ninety percent of serial arsonists have only a high school education or lower. They are characterized by poor relationship skills; nearly a quarter have reported attempting suicide, and at least half have psychological trauma or incidents in their background. More than half also came from intact homes. And more than half watch their fires after they'd been set.

ROSSI

So we're most likely looking for a white male in his twenties with prior arrests and who may be on the psychological radar.

HOTCHNER

Do we have enough for a preliminary profile?

MORGAN

Just the basics.

HOTCHNER

Morgan, call Garcia have her check arrests in the DC, Maryland, and Virginia areas for the last fifteen years. I know it'll be a big list, but we may be able to cross reference with residents of the four properties. The rest of us, we'll meet with Alvin and Corbin, deliver a working profile and get Alvin's people out looking for leads.

INT. - GARCIA'S OFFICE - DAY

We see GARCIA sitting in front of her various monitors. TELEPHONE rings. GARCIA answers.

GARCIA

Speak to me, my hot and wise little worker bee.

INT. – BAU BULLPEN – DAY

MORGAN stands beside his desk. He smiles. Speaks into his phone.

MORGAN

Hey, baby girl. I need you to run a list of priors for the area surrounding the fires in the last twelve to fifteen years. It'll be extensive, so focus on white males, ages twenty to thirty-five, now. That's what the odds are tellin' us this guy is. Then cross-reference with the four apartment complexes—Monument Heights, Washington Stone Complex, Helmar Acres, and Emily's complex.

INTERCUT BETWEEN GARCIA AND MORGAN

GARCIA

Ask much? It might take me a couple of hours—at least. How about I just start with the list of men who fit that profile from the list of residents, and then check the priors? Much shorter list. I hope. Want miracles much?

INTERCUT BETWEEN GARCIA AND MORGAN

MORGAN

You're my favorite miracle worker, Garcia. We need those names as quick as you can.

INT. - BAU CONFERENCE ROOM - DAY

We see the team arranged around the room. HOTCHNER and REID are by the whiteboard. ROSSI is at the back. Between him and the rest of the team, several local LEOs are seated, waiting for the profile.

HOTCHNER

We're looking for a white male, between the ages of seventeen and thirty-five, though statistics tell us he's under the age of twenty-five. This man is most likely intelligent-at least average, if not higher.

MORGAN

Even if this guy is smart, he's probably not educated, at least past a basic high school education. He's an underachiever. Socially awkward, if not flatly off-putting. There's a high likelihood he lives with a parent, most likely his mother. He's been in the system. Either in the mental health arena or a string of less serious offenses: misdemeanors or felonies. But he's not unknown to officials.

PRENTISS

Because a certain type of property has been targeted-upscale, expensive condos packed with upper-middle class professionals-we could also be facing a revenge-motivated arsonist.

As PRENTISS speaks, REID writes on the board: TYPES OF ARSONISTS, followed by REVENGE, OBSESSIONAL, EXCITEMENT, CRIME-CONCEALMENT.

CORBIN

Revenge? This guy might have been getting back at someone?

PRENTISS

It's possible. Many revenge-motivated arsonists are trying to retaliate for an injustice. And it doesn't necessarily have to be directed at the owner or inhabitant of the property targeted. Could just be a certain type.

MORGAN

Most revenge-arsonists are male with at least ten years of formal education. Most often they are of the laborer employment in the lower socioeconomic bracket—which often contributes to their feelings of insult, offense, or even martyrdom, to some extent.

ROSSI

Revenge arsonists often see a target as representing something, an ideal, or a belief. A status that the UNSUB aspires to obtain but doesn't think he can. In most cases, the victims of a revenge motivated fire have some sort of connection to the UNSUB, even if the victim isn't aware of it.

POLICE OFFICER #1

But you're not entirely certain whether it's a revenge-motivated arsonist or...what was the other kind?

REID writes: PERSONALITY DISORDERS MAY PLAY A FACTOR as he speaks:

REID

Arsons are committed for a variety of reasons, including peer pressure. Many arsonists also suffer from varying forms of personality disorders such as conduct disorders, antisocial disorders, schizotypal disorders, and even histrionic disorders. We also have multiple types...organized, disorganized, sexually-excited, revenge-motivated, crime-concealment.

A whole host of reasons exist behind their behaviors.

POLICE OFFICER #1's face shows complete confusion at REID's words, and the bullpen is silent, confusion echoing.

PRENTISS

Arson is committed for many reasons, and until we know a bit more about the target properties and residents, it's hard to distinguish which type we're dealing with right away. But this person has exhibited a lifelong fascination with fire, and someone knows that. Has seen it.

HOTCHNER

We need to interview residents of all four complexes, see if a possible connection exists between them. We also need to speak with the holding companies that own or manage the four properties. Any more questions?

INT. - GARCIA'S OFFICE - LATE DAY

We see various beeps and flashes as GARCIA hits a series of keys and she looks up. Camera focuses on a list of six names. Focus is on the third name. It's one we've seen before. HOLT. GARCIA picks up phone and dials an extension.

EXT. - APARTMENT COMPLEX 2 - AFTERNOON

Establishing shot. It's a nice complex, slightly upscale. Snow is falling beautifully to coat the sidewalks and window sills and balconies. Crowd visible in foreground.

EXT. - APARTMENT COMPLEX 2 - AFTERNOON

We see HOTCHNER and ROSSI as they approach a tall, athletic man. The man, whom we learn in MICHAEL HOLT, is removing bags of sidewalk salt from the back of his truck. He's a good-looking, open, friendly looking man in his late thirties. His face closes up when HOTCHNER introduces himself.

HOTCHNER

Michael Holt? I'm SSA Aaron Hotchner, this is SSA David Rossi, we have a few questions regarding the recent fire at your apartment building.

HOLT

Colby said you might be stopping by. How's Agent Prentiss?

ROSSI

She's on the mend. It was pretty close. As you know.

HOLT

It was, and would have been a real shame. Nice lady. What can I do for you guys?

HOTCHNER

First, can you tell us what you saw?

HOLT

Truth is, I didn't see much of anything. I'd had a bit too much to drink. A buddy's bachelor party. I damned near didn't hear the smoke alarms. Threw on my shoes and ran out.

INT. COMPLEX STAIRWELL - NIGHT

We see COLBY and HOLT pass each other, a scene we've seen before. We now see some added detail. A firefighter is seen in the background, passing them around the second floor, though we aren't given too much detail. COLBY enters the corridor first, one hand up to keep the smoke from his eyes. HOLT is right on his heels.

HOLT (V.O.)

Passed Jonah going back up. Figured he'd left something. He said something about there still being people inside. Kept going.

INT. - APARTMENT COMPLEX 3RD FLOOR HALLWAY - NIGHT

COLBY stumbles over something, goes down hard. He stands and we see he has a woman over his shoulder. HOLT quickly finds the second woman and lifts her in a similar hold.

INTERCUT BETWEEN HALLWAY AND APARTMENT COMPLEX 2

We see HOLT slam the tailgate to his pickup truck. It is obvious he is uncomfortable with the conversation.

HOLT

I figured he'd need help. Found the women, got them out. Got us out. Don't know what else I can tell you.

INT.- COMPLEX STAIRWELL - NIGHT

We see HOLT and COLBY as they carry PRENTISS and KELLER out of the building.

EXT.- OUTSIDE COMPLEX - NIGHT

We see COLBY and HOLT deposit their burdens on the grass, and bend over them. Both are coughing. PRENTISS awakens soon after.

INT. - APARTMENT COMPLEX 2 - DAY

ROSSI

How about why, when we ran all the common names associated with all four fires in the last week we found one common name? Yours. Why was that?

HOLT

Because my step-mother owns them?

ROSSI

Care to explain? We thought they were owned by several different holding companies.

HOLT

Five to be exact. My father set up his estate that way. Left a portion to my sister, brother, and I, as well as his second wife. My step-mother is the businessperson in the family. She runs the day-to-day.

ROSSI

And you just cut the grass?

HOLT

I guess you can trivialize it down to that.

HOTCHNER

And the fire at the apartment complex last night? What's your connection to that?

HOLT

Besides the fact that I happen to live there?

ROSSI

You have to admit, Mr. Holt, that of the nearly one thousand people affected by these four fires, the only name that rises in common was yours. That's a bit strange, don't you think?

HOLT

My step-mother oversees the places, I landscape and maintain the places, and I live in the fourth. My sister lives here in the fifth. My brother in the sixth. That's the extent of the family holdings. Are you saying someone's out to get me, out to get my family?

HOTCHNER

We're not saying anything of that sort.

HOLT continues to unload the bags of salt, stacking them on the sidewalk by his truck. He stops, pauses to look at the agents. We see his irritation at the questioning, see the intensity of Hotchner's gaze as he studies the other man. See the way Rossi is cataloging the man's actions.

HOLT

You mean, yet? Agent Hotchner, I'll admit I've had problems in the past. Have the record to prove it. But in the last five years I've built my landscaping business from the ground up. If you think I have anything to do with that fire-hell, my family lost a lot of money in the past two weeks on those properties, and last night several people I knew died. You're grasping at straws. And I barely made it out last night, as well.

ROSSI

Why? Why did you go back into that building?

HOLT

My family's building, my responsibility. And I'd met Agent Prentiss before. I wasn't leaving her up there in that, wasn't leaving anybody in that. And I figured Colby could use the help. So I went up. Like I said, I was a bit drunk, wasn't really thinking of the consequences. Would I do it again? Probably. Did I have something to do with the fire in the first place? Hell no. Now if you'll excuse me, but I have work to do. Not exactly cutting the grass, but it's important none the less.

HOLT opens the truck door, climbs in and drives off.

END OF ACT THREE

ACT IV

INT. - GARCIA'S OFFICE - DAY

We see HOTCHNER, ROSSI, and MORGAN standing semi-circle behind GARCIA, who is seated in front of her monitors. On one monitor we see a replay of the fire, and the events on the third floor.

GARCIA

Whoever our firebug is, they are clever. I'll give them that. But not as clever as they think. They managed to somehow dismantle more than half the security cameras on each floor.

HOTCHNER

Only half?

GARCIA

Hm. The ones not tweaked with were all installed two months ago. Those that were tampered with, were the old ones, put into place nearly four years ago. The technology behind them is much simpler than this digital system the owners were in the process of implementing. It's because of them that we have anything at all to work with. Got to love the digital age and progress.

MORGAN

So have you found anything that will lead us to this guy?

GARCIA

Patience, cupcake, patience. Have I ever let you down? Watch and see.

Focuses on screen.

INT.- COMPLEX HALLWAY - NIGHT

PRENTISS and KELLER enter the screen from the left. Both women stumble. Behind the women we see a body is vaguely outlined. KELLER goes down one more time, and PRENTISS stops moving, bends down. She jerks suddenly, looks over her shoulder. A fist shoots out and strikes her. We then see the shape step over the two women and run down the stairs.

INTERCUT BETWEEN HALLWAY AND GARCIA'S OFFICE

HOTCHNER

Can you isolate that?

GARCIA

There's nothing I can't do for you, handsome.

GARCIA'S fingers make quick work of the task, and we see a slow motion view of the action.

ROSSI

Can you isolate the arm?

GARCIA zooms and freezes the clip where the arm flashes out. We follow the team's gazes and see the arm, in a blurry freeze-frame.

HOTCHNER

Something stand out, Dave?

ROSSI

Watch. See that there.

ROSSI points to the sleeve, just visible in the low light of the footage. We see a dark area banded by a lighter one.

HOTCHNER

Can you enlarge that anymore?

GARCIA

'Fraid that, I cannot do. It's at maximum magnification. I said these cameras were better than their old ones, but they're still not all that great.

HOTCHNER

What are you thinking, Dave?

ROSSI

I can't be certain, but doesn't that look like a fireman's jacket?

MORGAN

Baby girl, back it up, and play it again.

Now we see the definite reflective strip of a fire-jacket.

HOTCHNER

Holt said he saw a fireman on the second floor landing when he went back in. Garcia, what's the time stamp on the tape?

Camera focuses on the time stamp: 00:02:07:31- 09 – ? - ?

MORGAN

Two oh seven, a.m.

HOTCHNER

Now bring up the first 911 call and the time of first response.

Garcia hits a few more keys and more data appears on her screen.

GARCIA

First call came from Emily's home number at one fifty-six, sir. First responders were on scene at two twelve. According to the digital recorder on the fire engines.

ROSSI

So how was it that a firefighter was clear on the third floor, five minutes before the fire trucks arrived?

HOTCHNER

He wasn't. He was there before the fire started. Morgan, you and Rossi head over to the fire department on Fifth street, they were the closest and quickest to respond. I'll take Prentiss and talk to Colby and Holt again, see what they can tell us about this fireman.

EXT. - PRENTISS' COMPLEX PARKING LOT - AFTERNOON

We see COLBY talking to a neighbor. Several others are also outside the building.

HOTCHNER

Agent Colby, we have a few more questions.

COLBY

You still thinking Holt had something to do with this? If so, you're up the wrong tree.

His words are slightly hostile this time as he looks at HOTCHNER. He turns to PRENTISS.

COLBY

Emily. Tell me you don't?

PRENTISS

Jonah, we need to know about the fireman you saw.

COLBY

Five, ten. Didn't get a good look at him. Why? You think your torch is a hose boy?

HOTCHNER

Possibility. Anything else you can think of? When did you first notice?

COLBY

I don't know. Our paths' crossed around the second floor landing when I went back in for Emily. I met Holt midway down the first, firefighter was after that.

HOTCHNER

Anything stand out?

COLBY

No, man. Guy acted like he knew what he was doing. Was in full gear, moved like he'd definitely been trained to.

PRENTISS

Did he say anything?

COLBY

No. Just ran past. Brushed my shoulder on his way down.

HOTCHNER

Down?

COLBY

Yeah. Down. Kind of odd, that.

PRENTISS

A firefighter should have been going up, not down.

COLBY

But what kind of firefighter torches places and stays inside?

HOTCHNER

One who was determined that this property burn more than the others.

PRENTISS

So whomever the target was, they live in my building.

HOTCHNER

So we have a focused, revenge arsonist targeting someone closely tied to this property.

PRENTISS

And to Mike Holt, as well.

COLBY

Em, remember back this past summer? Holt was seeing a woman with firehouse number six. Didn't end too well. Woman was damned near crazy.

INT. - INTERROGATON ROOM - FBI - AFTERNOON

HOLT

You still think this has anything to do with me?

ROSSI

We understand you were once involved with a woman on the fire department, firehouse six.

HOLT

Tamara? Man, that was months ago.

HOTCHNER

What can you tell us about her?

HOLT

You think she is behind this? Come off as quiet at first.

ROSSI

And then?

HOLT

Demanding, jealous, constant need for reassurance, praise. Always wanted to hear she was doing the right thing. It was strange. I figured a female firefighter would be ok on her own for a night or two. Especially if I was working.

HOTCHNER

She wasn't? How do you mean?

HOLT

Calls. Texts, every half hour or more. Then it was the accusations about other women. Even men. Don't get me wrong-I liked Mara. At first. But then it got to be too much.

ROSSI

And when it ended? How did she take things then?

HOLT

Pretty well, I thought. I told her, and told her why, too. She never said anything, or did anything.

ROSSI

Did you see her after that?

HOLT

Occasionally. Bars, grocery stores. Areas of the neighborhood we both frequented. But she never acknowledged me. Actually ran into her about a month ago when out on a date with another resident here. We were just friends, and I didn't pay it any mind. Mara didn't say anything, just looked away. Are you sure she's involved?

HOTCHNER

We won't know until we talk to her.

Walking back to car.

ROSSI

A month ago fits with the amount of planning that would have to be involved for this. The fires have been well thought out, methodical. That fits with the profile.

HOTCHNER

Seeing Holt with another woman was the trigger. The profile fits that of a revenge arsonist. We need to have Garcia follow up on Tamara Waters ' background. A fire of this type of planning-multiple fires of this magnitude, she's rehearsed. Has to have. There will be a record somewhere.

ROSSI

We need access to her jacket-especially all fires worked in the last two months.

INT. – FIREHOUSE – DAY

We see REID and MORGAN as they speak with the FIRECHIEF.

FIRECHIEF

Mara? Real shame, that girl.

REID

Why?

FIRECHIEF

Had to let her go, about six weeks ago.

MORGAN

Why was that?

FIRECHIEF

Not just one thing specifically. Little things that added up. Hated to show her the door, what with her dad dying, and being left with that mother of hers.

REID

I'm afraid we don't know about her family. Anything you can share with us?

FIRECHIEF

It's not a secret. Her dad, he was hurt on the job—worked out of this house—back in ninety-two. Took a falling beam to the back of the head, did some damage. And not just burns. Suffered some brain damage, altered moods, quick to forget, things like that. Medically retired right after that. He died a little over three months ago. Damned fine firefighter, up until that one night. Lived for the job—dedicated, ambitious, passionate.

MORGAN

You mentioned Mara's mother. What can you tell us about her?

FIRECHEIF

Her mother, the overly critical sort. And didn't take too kindly to her only girl going in her daddy's footsteps. But Mara, the girl loved the job. She just wasn't too good at it. But her mother would ride her about everything girly-girly. Her nails, her hair. Overly critical woman. Was the same way with Bob—Mara's father.

EXT. FIREHOUSE PARKING LOT – DAY

We see MORGAN and REID as they stand in the parking lot. MORGAN talks into the cell phone.

MORGAN

Hotch, yeah man, Mara Walters was canned six weeks ago. Behavioral issues, couldn't get along with her colleagues, and just poor job performance in general. She also showed very little skill for…get this…putting the fires out once they were started. Seemed to just freeze, wanting to watch them burn. I've got her performance reviews right here. It's her, man.

INTERCUT BETWEEN HOTCHNER AND MORGAN

INT.- GARCIA'S OFFICE – DAY

We see HOTCHNER, ROSSI, ALVIN, JAREAU, PRENTISS, and GARCIA as they review the security tapes yet again. HOTCHNER is on the cell phone, which he then places on the desk and hits a button.

HOTCHNER

I've put you on speaker, Morgan. Garcia's found a warehouse purchased by Tamara Walters' father. Passed to her upon his death. Seventh street area. Garcia's forwarding the information to your handheld now.

GARCIA

I've also found three reports in the last four weeks of small fires in the warehouses down there. Including two fires in her facility. Each time the fire department—not the one where Morgan and Reid are right now—was called, she told them it was basically a false alarm.

ROSSI

Gauging response times?

HOTCHNER

Doubtful. She'd already have a good estimate from her experience. Most likely, practicing to see how long she'd have to get the devices to ignite. And as a firefighter, she'd have the experience to mask the signs of it. Trial runs, so to speak. Prentiss and I will go speak to her mother. Detective, have your men check the bars we know she frequents. The rest of you, keep digging. At the rate she's devolved, she's likely to act again tonight. She's already killed eight people. Let's stop her at that.

CLOSEUP on Garcia's computer clock: 5:57 PM.

FADE OUT:

INT. WALTERS' HOUSE – DAY

We see HOTCHNER and PRENTISS and a middle-aged woman, MRS. ELLEN WALTERS, seated around a very fussy, frilly, precise parlor. The woman is prim, neat, precise. She focuses on PRENTISS, and ignores HOTCHNER, who looks completely out of place in the parlor.

ELLEN WALTERS

I redid my entire house after Bob died.

PRENTISS

And it is lovely. I particularly like the Victorian style. Mrs. Walters, we've a few questions about your daughter.

ELLEN WALTERS

Mara? What about her?

HOTCHNER

We understand that she was released from her job with the fire department a few weeks ago. Did she say anything about that?

ELLEN WALTERS

Why? What does the FBI want with my daughter? Mara may be a lot of things, but a criminal isn't one of them. Yes, she was let go from the department. Should have happened a lot sooner, if you ask me.

PRENTISS

Do you mind me asking why? Tamara's name came up in the course of our investigation and we need to clear up a few things. We understand she was in a relationship with Michael Holt around three months ago?

ELLEN WALTERS

Was she? I try not to get involved in Mara's personal life. I don't agree with her choices, you understand? As for the people she met while on that job, I couldn't tell you one thing about them. With the exception of those who'd worked with my husband before he was injured.

HOTCHNER

We understand you lost him recently, and we're sorry for your loss.

ELLEN WALTERS

Well. It wasn't anything we weren't expecting. Just surprised us it took so long. My husband was never quite right after the injury. Seizures, you understand? Aggression. Strange thoughts—delusions, I believe the psychiatrists called them. It was a trial.

PRENTISS and HOTCHNER share significant looks at the woman's callousness, as Ellen puts her tea cup back on the silver tray.

PRENTISS

How would you describe your daughter's relationships with men?

ELLEN WALTERS

With her father? She could do no wrong. At any time. His little princess from the moment she was born. It was the same after the fire—even more so. With her brothers—Mark and Junior—demanding. She is the youngest, and her father gave her everything she wanted. Even let her live here until the day he died, without paying a single bill.

HOTCHNER

And with other men?

ELLEN WALTERS

Nothing that ever worked out well, that I can remember. She dated a few men from that firehouse over the last two years. Nothing serious. Nothing she mentioned. Nothing I asked about, especially since I asked her to find another place to live a month ago.

PRENTISS

Mrs. Walters, when Mara moved out—where did she go? What's her current address?

ELLEN WALTERS

As far as I know, she's staying in that little apartment over the warehouse her father left her. But I've certainly never been there. And she only comes over here on Sunday's for dinner-along with her brothers and their families. Now, if you'll excuse me, I have to get ready for my bridge tournament.

EXT. MRS. WALTERS' DRIVEWAY - DUSK

We see HOTCHNER and PRENTISS as they walk toward the vehicle. PRENTISS climbs in the passenger seat, turning toward HOTCHNER as he enters the driver's.

PRENTISS

Hell of a woman, that. Bet she made the perfect room mother in elementary school.

HOTCHNER

No love lost between mother and daughter.

PRENTISS

Almost a jealousy toward Mara.

HOTCHNER

And a resentment, coupled with complete indifference on other aspects. Wonder how Mara reacted?

PRENTISS

Probably not good. And I'm not so sure I blame her. Distant mother, overly indulgent father, probably resentful older brothers. Add in dad's mental injuries, and it would combine to make someone very, very confused.

HOTCHNER

And has been given an entire warehouse to deal with that confusion-one fire at a time. Call Morgan and Rossi, have them and Detective Alvin meet us at the warehouse. Go in soft, I don't want to spook her.

EXT. - WALTERS' WAREHOUSE - NIGHT

WIDEANGLE WAREHOUSE DISTRICT

SUVs and 3 police vehicles pull up. POLICE OFFICERS quietly and efficiently file to cover all the exits of the building. HOTCHNER and PRENTISS pull up and quickly exit the building, round the vehicle and quickly slip into their Kevlar. MORGAN, ROSSI, ALVIN, and REID approach from the other side.

ALVIN

She's in there. Confirmed that's her vehicle there.

He points to a small economy car parked half a block up the street.

(continued)

We've made no attempt at making contact. Waited for you.

HOTCHNER

Good. Prentiss, do you know her in any way?

PRENTISS

Saw her briefly near the registration office once, and in the parking garage maybe two, three times. Ran into Michael Holt and her once at the lounge up the street from my building when out with Jonah, Agent Colby. Other than that, no.

HOTCHNER

Do you think she would recognize you? Long enough to get her attention on you and not the rest of us?

PRENTISS

I don't think so. My only impressions of her was that she did not like anyone female. She never spoke to me the few times we met face to face. Only Michael and Jonah.

HOTCHNER

Then Dave on the air horn.

REID

It would probably be best if you were indulgent in manner with her, Agent Rossi. See if the role of father figure would be effective. She's looking for that, I think, from the men in her lives. Her mother told you that she always got what she wanted, that she was demanding, and daddy's little girl. A princess. Better than the men around her-but she also needs guidance, like from her father. Michael Holt also said she needed reassurance that she was 'doing the right thing'. She needs approval. From an older male.

ROSSI

Understood. And in the meantime, if you're correct, she's likely to do one of two things when cornered...

HOTCHNER

Regress to a child-like state or turn aggressive and not surrender easily.

PRENTISS

I'm betting on the latter. She's an aggressive woman. And not a small one either. She's at least as tall as Morgan, and muscled. And she is a dominant personality type. Defensive. I don't see her calmly sitting back and letting us arrest her.

HOTCHNER

Noted. So be prepared to use force if necessary. Morgan, you and I'll take the front entrance. Prentiss and Reid cover the back. Alvin, have two of your men at each of the docking bays. Move on my signal. And everyone remember-this woman understands incendiary devices. So watch yourselves, carefully.

EXT. - WAREHOUSE FRONT - NIGHT

MORGAN and HOTCHNER move in to position. ROSSI and ALVIN are by vehicle with POLICE OFFICERS on each side.

INTERCUT TO PRENTISS and REID at BACKDOOR

INTERCUT TO DOCKING BAY ONE, WHERE TWO POLICE OFFICERS ARE MOVING IN

INTERCUT TO DOCKING BAY TWO, WITH TWO POLICE OFFICERS IN POSITION.

INTERCUT TO WAREHOUSE OFFICE, WHERE TAMARA WALTERS (30s, tall and strong) SITS COUNTING MATCH BOOKS.

ROSSI

Tamara Walters, this is Agent David Rossi with the FBI. I need you to show yourself.

She stands, but does not move toward the front door. Grabs a lighter and rushes toward the stairs that lead to an overhead loft. The building is old, and a fair amount of wood is visible. She gets halfway up the stairs when:

HOTCHNER and MORGAN enter. They see her and move closer.

MORGAN

Hotch, man. You smell that?

HOTCHNER and MORGAN move in, though they are moving much slower now.

HOTCHNER

Kerosene. And she had a lighter in her hand.

MORGAN

It's strong. And the floors are wet.

HOTCHNER

She's doused the place. One last fire.

HOTCHNER cautiously activates his earwic, before speaking.

HOTCHNER

Everyone currently inside the building, I want you to fall back. Don't hinder her in anyway. She's doused the floor with accelerant and is carrying a lighter. Repeat do not approach. If you are in(BEAT) the (BEAT) building (BEAT) do not approach. Let her out of the back door.

INTERCUT TO DOCKING BAY ONE

Police officers move back, as camera focuses on Tamara Walters in the distance of about 50 ft.

INTERCUT TO DOCKING BAY TWO

Police officers stop moving, as camera focuses on Tamara Walters in the center, from a distance of about 50 feet.

ROSSI (V.O.)

We're not in your way, Tamara. Why don't you go out the back door? We-just you and me-can sit down and talk about this. We have a few questions about Michael Holt. We need your help.

EXT. - BACK WAREHOUSE ALLEY - NIGHT

We see PRENTISS and REID, one on each side of a small plain door, PRENTISS is beside a metal dumpster, which partially obscures her from the camera. The alley is dimly lit, and visibility is minimal. The door swings open. Tamara Walters appears. She passes between PRENTISS and the camera. She is much taller than PRENTISS and of a bigger build.

ACTION SLOWS DOWN. Door closes behind WALTERS, REID moves into position, aiming his weapon. WALTERS moves past him, uncaring. PRENTISS is still behind her. It's clear WALTERS doesn't realize they are there. She rounds the edge of the dumpster, comes face to face with PRENTISS, and tries to run the other direction. But it is too late. PRENTISS knocks the lighter from her hand. WALTERS turns to run, gets six to ten feet away and PRENTISS tackles her, taking her to the ground. WALTERS struggles as PRENTISS puts a knee in her back. REID moves to assist, while holstering his weapon. Soon WALTERS is restrained, though not subdued, as the rest of the team (minus ROSSI) and Alvin's men exit the warehouse in time to see REID offering PRENTISS a hand up. Police officers pull WALTERS to her feet and lead her down the alley and around the building.

EXT. - POLICE STATION - DAY

WIDEANGLE SHOT

We see Detective Alvin standing just outside his precinct with the BAU team. Camera moves closer.

ALVIN

I appreciate your help on this.

ROSSI

No problem. This one hit a little close to home for us.

PRENTISS

Literally.

ALVIN

Agent Colby and Michael Holt are still inside, giving their final statements. Then all should be wrapped up.

PRENTISS

Has she said why she did it?

ALVIN

Just that she saw Holt with that woman a month ago. And knew she had to burn them. Burn them both. Never thought of anyone else in the building.

PRENTISS

Jamie, from 303. Her car is always breaking down. She bums rides from certain people in the building-me, Jonah, Michael. Nobody ever reads anything in to it. She'd also get my mail and water my plants when I was away for a few days. Jonah's, too.

HOTCHNER

She's ill.

PRENTISS

And her illness has cost a lot of people.

ROSSI

It was your quick thinking that as many people got out as did. Don't forget that, Emily.

PRENTISS

I won't.

Pauses as Michael Holt and Jonah Colby exit the building. She looks at them, nods, half-smiles. Colby smiles back. Holt just keeps walking. It's obvious he feels guilty.

PRENTISS (continued)

I don't think Michael will, either.

END OF ACT IV

TAG

PRENTISS VO:

Tis said of love that it sometimes goes, sometimes flies; runs with one, walks gravely with another; turns a third into ice, and sets a fourth in a flame: it wounds one, another it kills: like lightning it begins and ends in the same moment-Miguel de Cervantes Saavedra

PRENTISS walks up a newly painted staircase, ready bag in hand. Her manner is subdued, resigned, but not cowed. She pauses outside Apartment 305, which we recognize as her address. Her new key is bright and shiny as she puts it into the new lock on her door. She pushes open the door.

INT - PRENTISS'S APARTMENT - EVENING

We see her candles and décor have been knocked over, there is a pile of soaked and ruined mail and magazines on her countertop, and her light colored couch is water stained. A new couch has been delivered and sits almost parallel to the first and is covered in clear plastic packaging. PRENTISS walks straight to the obviously new window overlooking the capitol, arms wrapped around herself as if trying to ward off a chill.

INTERCUT BETWEEN HOTCHNER AND PRENTISS

HOTCHNER bends over a fireplace, as a blaze forms. He moves back, and the camera zooms back to highlight the room. HOTCHNER moves back to his seat at the coffee table, where he has several files spread out. He picks up the pen, flips one open, sighs, and begins writing, head down. He stops, stands, moves into another room, as we CUT TO:

INT. - GARCIA'S APARTMENT - EVENING

MORGAN is standing on a chair, reaching up as far as he can, while GARCIA watches from below. MORGAN installs a battery, presses a button, and the sounds of a fire alarm echo through the brightly painted apartment.

INT. - JJ'S HOME - EVENING

WILL holds baby Henry, near front door, where JAREAU is seen activating a security panel. Camera zooms to show the screen, where an active FIRE MONITOR light is lit.

INT. - GARCIA'S APARTMENT - EVENING

MORGAN climbs off the chair, speaking as he does:

MORGAN

Now will you sleep, baby girl?

GARCIA

Like a baby. Thanks, sweetness! You check yours as soon as you get home, understand?

MORGAN

Hear you loud and clear.

INT. - HOTCHNER'S KITCHEN - EVENING

He pulls a small fire extinguisher from beneath the sink and carries it into the living room, where he places it next to the fireplace.

INTERCUT BETWEEN HOTCHNER'S APARTMENT AND PRENTISS'

We see PRENTISS pull the door to apartment 305 closed behind her. She walks down the freshly repaired and half repainted hallway, clutching a bag in her hand. She exits via the staircase she'd been carried down several days before. The door closes behind her.

THE END


End file.
